Page 125 - Metro
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Phillips argues, ‘I don’t think there’s anything wrong with  ([HPSOLI\LQJ WKH UHDFK RI RXU ĺOPV DEURDG  D 6FUHHQ $XVWUDOLD
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                 that some reworking of the script is inevitable. ‘You have to be  @ kKL SG@S RTHSR @ BN OQNCTBSHNM SQD@SX Q@SGDQ SG@M CNHMF VG@S
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                 address ‘an increasing awareness that our screen hasn’t been  EHWZHHQ DOO WKH FUHDWLYH DQG ĺQDQFLDO HOHPHQWV DFURVV WZR
                 necessarily representing contemporary Australian culture, with  different cultures.’
                 DOO RI LWV GLYHUVLW\p  ,Q WKLV UHJDUG  FR SURGXFWLRQV PD\ DFWXDOO\  Ultimately, Phillips entreats producers to ‘make sure that the
                 tell the stories of modern Australia better than we realise. By  LQWHUQDWLRQDO SDUWQHU LV WKH ULJKW SDUWQHU IRU \RX  'R WKH GXH GLOL
                 ZD\ RI LOOXVWUDWLRQ  $XVWUDOLDQt,QGLDQ FR SURGXFWLRQ 4M(MCH@M  gence and make sure you’ve both got the same creative vision.’
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                 explores the deep cultural connections between Australia   3HL !NR@MPTDS HR @ 2XCMDX A@RDC VQHSDQ @MC OQNCTBDQ    m
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                                                                Endnotes
                                                                1  See Screen Australia, )ULHQGV ZLWK %HQHƄWV  $ 5HSRUW RQ
                 Creating for different markets
                                                                  Australia’s International Co-production Program        S
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                 cally geared for the Chinese market, with Australian audiences   F          G F    G   F     )ULHQGV ZLWK EHQHŷWV
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                 RI FUHDWLQJ 3GD 3QDD, Taylor says the production team just   $XVWUDOLD ZHEVLWH     0DUFK        KWWSV   ZZZ VFUHHQDXVWUDOLD
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